ʈӋ… ʈӋ… - Blue Star Ferries

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ʈӋ… ʈӋ… - Blue Star Ferries
FACE
Pantelis
Thalassinos
A
distinct
voice…
A distinct voice, simple and warm words,
a proud stance, a clear glance;
self-taught and unique, humble and with
a low profile, he is an artist who is creating
a legacy in the Greek music scene. Congenial
and warm, Pantelis Thalassinos creates
a friendly atmosphere which he projects
to his audience.
BY BABIS PAPADATOS
¶·ÓÙÂÏ‹˜
£·Ï·ÛÛÈÓfi˜
MÈ·
ȉȷ›ÙÂÚË
ʈӋ…
π‰È·›ÙÂÚË ÊˆÓ‹, ÏfiÁÔ˜ ·Ïfi˜ ηÈ
ÌÂÛÙfi˜, ÌÈ· ÂÚËÊ¿ÓÈ· Û·Ó ÛÙ¿ÛË
˙ˆ‹˜, ¤Ó· ηı·Úfi ‚ϤÌÌ· ÌÈ·
·˘ÙÔ‰ËÌÈÔ˘ÚÁ›· Î·È ÌÔÓ·‰ÈÎfiÙËÙ·,
ÂÚÌËÓÂ˘Ù‹˜ ¯·ÌËÏÒÓ ÙfiÓˆÓ,
ÛÂÌÓfi˜, ‚¿˙ÂÈ ÛÈÁ¿ ÛÈÁ¿ ÛÔ‚·Ú¤˜
·Ú·Î·Ù·ı‹Î˜ ÛÙÔ ÂÏÏËÓÈÎfi
ÙÚ·ÁÔ‡‰È. √ÈΛԘ, Ô ¶·ÓÙÂÏ‹˜
£·ÏÏ·ÛÈÓfi˜ ·Ì¤Ûˆ˜ ‰ËÌÈÔ˘ÚÁ›
ÌÈ· ÊÈÏÈ΋ ·ÙÌfiÛÊ·ÈÚ· ηْ ȉ›·Ó
ÙËÓ ÔÔ›· ÌÂٷʤÚÂÈ Î·È
ÛÙÔ ÎÔÈÓfi ÙÔ˘.
A¶O TON M¶AM¶H ¶A¶A¢ATO
60 OnBlue
OnBlue 61
FACE
“
H ÌÔ˘ÛÈ΋ Â›Ó·È ¤Ó·˜
‰ÚfiÌÔ˜ ·Ú¿ÏÏËÏÔ˜
Ì ÙË ˙ˆ‹ ÌÔ˘
”
“
¶ÔÈ· ‹Ù·Ó Ë ·Ó¿ÁÎË Ô˘ Û ԉ‹ÁËÛ ÛÙÔ ÙÚ·ÁÔ‡‰È;
∞Ó ıˆڋۈ ˆ˜ Ô‰ËÁ‹ıËη ·fi ·Ó¿ÁÎË ÛÙË
ÌÔ˘ÛÈ΋, ÙfiÙÂ Ë ·Ó¿ÁÎË ·˘Ù‹ Ì ԉ‹ÁËÛ ӷ
·›˙ˆ Ì ʛÏÔ˘˜, ·Û¯ÔÏ‹ıËη Ì ÙËÓ ÎÈı¿Ú·
ÌÔ˘, „¿¯Ó·Ì ÙÚ·ÁÔ‡‰È· ‰ËÌÈÔ˘ÚÁÔ‡Û·ÌÂ
ÁÎÚÔ˘¿ÎÈ·. ∆· ˘fiÏÔÈ· ‹Úı·Ó ÌfiÓ· ÙÔ˘˜.
µ¤‚·È· ·fi ÌÈÎÚfi ·È‰›, Ô ·Ù¤Ú·˜ ÌÔ˘ ÌÂ
ˆıÔ‡Û ÛÙË ÌÔ˘ÛÈ΋, Ì¿ÏÏÔÓ ˆ˜ ·ˆıË̤ÓÔ
ÙÔ˘, ·ÏÏ¿ ‚Á‹Î Û ηÏfi. ŒÙÛÈ ÌÔÚÒ Ó· ˆ
fiÙÈ Ë ÌÔ˘ÛÈ΋ Â›Ó·È ¤Ó·˜ ‰ÚfiÌÔ˜ ·Ú¿ÏÏËÏÔ˜
Ì ÙËÓ ˙ˆ‹ ÌÔ˘.
¶ÔÈÔÈ ‹Ù·Ó ÔÈ ‰¿ÛηÏÔÈ ÛÔ˘ Î·È ÔȘ ÔÈ ÂÈÚÚÔ¤˜ Ô˘ ‰¤¯ÙËΘ;
ŸÏÔÈ ÔÈ ÌÂÁ¿ÏÔÈ Û˘Óı¤Ù˜ Ù˘ ÂÏÏËÓÈ΋˜
‰ÈÛÎÔÁÚ·Ê›·˜ ‹Ù·Ó ÔÈ ÂÈÚÚÔ¤˜ Ô˘ ‰¤¯ÙËη,
Ù· ÚÒÙ· ÌÔ˘ ·ÎÔ‡ÛÌ·Ù· ‹Ù·Ó ÙÔ Ó¤Ô Î‡Ì·
Î·È ÛÙË Û˘Ó¤¯ÂÈ·, £ÂÔ‰ˆÚ¿Î˘, ÷Ù˙ȉ¿Î˘,
™·‚‚fiÔ˘ÏÔ˜ ·ÚÁfiÙÂÚ· Ì‹Î· ÛÙÔ Ï·˚Îfi,
ÚÂÌ¤ÙÈÎÔ Î·È ·Ú·‰ÔÛÈ·Îfi ÙÚ·ÁÔ‡‰È.
62 OnBlue
Music is a path
parallel to my life
”
∆È Â›Ó·È ·Ú¿‰ÔÛË ÁÈ· Û¤Ó·;
√È Î·Ù·‚ÔϤ˜ Ì·˜. ŸÏ· ÂΛӷ Ô˘ Ì·˜ ÂËÚ¿˙Ô˘Ó Î·È Ì·˜ ÎÏËÚÔÓÔÌÔ‡ÓÙ·È ·fi ÁÂÓÈ¿
Û ÁÂÓÈ¿. °È’ ·˘Ùfi Î·È Â›Ó·È ·Ó¿ÁÎË Ó·
„¿¯ÓÔ˘Ì ÙÔ ÛÙ›¯Ô Î·È ÙË ÌÔ˘ÛÈ΋ Ì·˜, ¤ÙÛÈ
ÒÛÙ ӷ ›̷ÛÙ ÁÓ‹ÛÈÔÈ Û˘Ó¯ÈÛÙ¤˜ Ù˘ ·Ú¿‰ÔÛ˘ Ì·˜ Î·È ÂÚ‹Ê·ÓÔÈ ÁÈ· Ù· ‰ËÌÈÔ˘ÚÁ‹Ì·Ù· Ì·˜.
∆Ô Ó· ÁÚ¿ÊÂȘ ÙÚ·ÁÔ‡‰È· ‰ÂÓ ÂÎÙ›ıÂÛ·È ÚÒÙ·
ÛÙÔÓ Â·˘Ùfi ÛÔ˘ Î·È ÌÂÙ¿ ÛÙÔÓ ÎfiÛÌÔ;
∞˘Ùfi ÙÔ Úfi‚ÏËÌ· ÙÔ Â›¯· ¿ÓÙ·. ∫¿ı ÊÔÚ¿
Ô˘ ¤ÁÚ·Ê· ÙÚ·ÁÔ‡‰È· ÓÙÚÂfiÌÔ˘Ó· Ó· Ù·
ÁÓˆÛÙÔÔÈ‹Ûˆ ·ÎfiÌ· Î·È ÛÙÔ˘˜ Ê›ÏÔ˘˜ ÌÔ˘
∞ÚÁfiÙÂÚ· Û˘ÓÂȉËÙÔÔ›ËÛ· fiÙÈ ÙÔ Ó· ·ÁÁ›ÍÂȘ
Ì ¤Ó· ÛÔ˘ ÙÚ·ÁÔ‡‰È ÙËÓ „˘¯‹ ÙÔ˘ ¿ÏÏÔ˘,
Â›Ó·È Û·Ó Ó· ÌÔÈÚ¿˙ÂȘ ÙȘ ¢·ÈÛıËۛ˜ ÛÔ˘.
∞˘Ùfi Â›Ó·È ÂÈÎÔÈÓˆÓ›·.
¶ˆ˜ ηٷӤÌÂȘ ÙÔÓ ¯ÚfiÓÔ ÛÔ˘; ¢Ô˘Ï‡ÂȘ,
ÔÈÎÔÁ¤ÓÂÈ·, ¯fiÌÈ, ‰È¿‚·ÛÌ·;
∆ÂÏÂ˘Ù·›· ·Ê‹Óˆ Ù· Ú¿ÁÌ·Ù· Ó· Ì ÂËÚÂ-
Which need do you feel led you to singing?
If we presuppose that a need led me to
music, then that need was to play music with
my friends. I played my guitar, we all looked
for songs, and we made up small groups. The
rest just kept coming. From an early age, my
dad was pushing me toward music, possibly
to satisfy his own unfulfilled wish, but it
turned out for the better. I can now say that
music has been a path parallel to my life.
Who were your teachers and what influenced
you?
All great composers of Greek discography
have influenced me. I was first exposed to
the ‘new wave’ and then to Theodorakis,
Hatzidakis, and Savopoulos. Later yet, I got
to know the rebetika and folk songs.
What is tradition for you?
Our background. All those things that influence
us and are passed on from generation to
generation. That’s why it’s imperative to be very
specific when writing lyrics or music so that we
can be worthy followers of our tradition and
proud of our creations.
Doesn’t songwriting expose you first to
yourself and then to the world?
That is a problem I always had. Every time I
wrote songs I was embarrassed to show
them even to my friends. Later I realized that
by touching someone else’s soul with your
songs is like sharing your sensitive side. That
is communication.
How do you spend your time? Work, family,
hobbies, reading?
Lately, I’ve been letting things affect me and,
in turn, I communicate them to the public
with my music. That way I feel less stressed
about everything around me – I let different
stimuli influence me. I used to have blinders
on; now I am more receptive.
What is the definition of a good song? What
makes it be more than just another song?
The theme is of primary importance; it
shouldn’t be overdone. It should be original,
serious, but not necessarily without a sense
of humor. The lyrics and, naturally, the
music should be well thought-out, because
they are the ones that first reach the
audience. A song is a combination of lyrics,
music and interpretation.
What does the so-called ‘quality music’ mean
to you?
I personally classify each song according to
how seriously it approaches music. I see
serious and non-serious songs.
At which point of the creative process of
{
FACE
¿˙Ô˘Ó Î·È Ù· ÂÈÛÙڤʈ Ì ÙË ÌÔ˘ÛÈ΋ ÌÔ˘.
ŒÙÛÈ ÓÈÒıˆ ÏÈÁfiÙÂÚÔ ¿Á¯Ô˜ ÁÈ· Ù· ÂÚÂı›ÛÌ·Ù·
Ô˘ ˘¿Ú¯Ô˘Ó Á‡Úˆ ÌÔ˘ ·Ê‹ÓÔÓÙ·˜ Ù· Ó· ÌÂ
·ÁÁ›ÍÔ˘Ó Ù· ›‰È·. ∫¿ÔÙ ›¯· ·Úˆ›‰Â˜
ÙÒÚ· ·Ê‹Óˆ ÂÚÈÛÛfiÙÂÚ˜ ¯·Ú·Ì¿‰Â˜.
¶ÔÈÔ˜ Â›Ó·È Ô ÔÚÈÛÌfi˜ ÙÔ˘ ηÏÔ‡ ÙÚ·ÁÔ˘‰ÈÔ‡
ÁÈ· Ó· ÌËÓ Â›Ó·È ·Ï¿ ¿ÏÏÔ ¤Ó· ÙÚ·ÁÔ‡‰È;
¶ÚˆÙ·Ú¯È΋ ÛËÌ·Û›· ¤¯ÂÈ ÙÔ ı¤Ì· Ó· ÌËÓ
Â›Ó·È ¯ÈÏÈÔÂÈˆÌ¤ÓÔ ÚˆÙfiÙ˘Ô, ÛÔ‚·Úfi, fi¯È
··Ú·›ÙËÙ· ¯ˆÚ›˜ ¯ÈÔ‡ÌÔÚ. √ ÛÙ›¯Ô˜ ¯ÚÂÈ¿˙ÂÙ·È Ó· Â›Ó·È ¿ÚÙÈÔ˜, ÁÈ·Ù› ÚÒÙ· ·˘Ùfi˜ ÊÙ¿ÓÂÈ
ÛÙÔÓ ÎfiÛÌÔ Î·È ‚¤‚·È· Ë ÌÔ˘ÛÈ΋. ÕÏψÛÙÂ
¤Ó· ÙÚ·ÁÔ‡‰È Â›Ó·È Û˘Ó‰˘·ÛÌfi˜ ÛÙ›¯Ô˘ ÌÔ˘ÛÈ΋˜ Î·È ÂÚÌËÓ›·˜.
∫·È ·˘Ù‹ Ë Â›Ê·ÛË ÙÔ˘ ÔÈÔÙÈÎÔ‡ ÙÚ·ÁÔ˘‰ÈÔ‡, ÙÈ ÛÔ˘ ϤÂÈ;
¶ÚÔÛˆÈο ηٷٿÛÛˆ ÙÔ Î¿ı ÙÚ·ÁÔ‡‰È ÌÂ
‚¿ÛË ÙÔ fiÛÔ ÛÔ‚·Ú¿ ‚ϤÂÈ Ô Î·ı¤Ó·˜ ÙË
ÌÔ˘ÛÈ΋. ŒÙÛÈ ¤¯Ô˘Ì ÛÔ‚·Úfi Î·È ÌË ÛÔ‚·Úfi ÙÚ·ÁÔ‡‰È.
™Â ÔÈ· Ê¿ÛË Ù˘ ‰ËÌÈÔ˘ÚÁ›·˜ ÂÓfi˜ ÙÚ·ÁÔ˘‰ÈÔ‡ ηٷϷ‚·›ÓÂȘ ·Ó ı· ¤¯ÂÈ ·‹¯ËÛË;
¶·›˙ÔÓÙ·˜ ¤Ó· ÙÚ·ÁÔ‡‰È, ·Ó ÛÔ˘ Ê·Ó› ÁÓˆÛÙfi
Î·È ÔÈΛÔ, ÈÛÙ‡ˆ fiÙÈ ¤ÙÛÈ ı· Ê·Ó› ηÈ
ÛÙÔ˘˜ ¿ÏÏÔ˘˜.
√È Ê›ÏÔÈ ÛÔ˘ ·ÛÎÔ‡Ó ÎÚÈÙÈ΋ ÛÙË ‰Ô˘ÏÂÈ¿ ÛÔ˘,
ÙÈ ÓÔÌ›˙ÂȘ fiÙÈ ÛΤÊÙÂÙ·È Ô ÎfiÛÌÔ˜ ÁÈ· Û¤Ó·;
¶ÈÛÙ‡ˆ ÛÙÔ˘˜ ·˘ÛÙËÚÔ‡˜ Ê›ÏÔ˘˜ Î·È Ì¿ÏÈÛÙ·
Ì ÛÎÏËÚ‹ ÎÚÈÙÈ΋. ÕÏψÛÙ ÁÈ· ̤ӷ Ë ÌÔ˘ÛÈ΋ Â›Ó·È ÂÈÎÔÈÓˆÓ›· Î·È fi¯È ÂÌÔÚÈ΋ ·Ó¿ÁÎË. ∂›Ó·È ¤Ó· ‰¤ÓÙÚÔ Ô˘ ‰›ÓÂÈ Û˘Ó¯Ҙ ηÚÔ‡˜. ŸÛÔ, ·Ó·ÊÔÚ¿ ÙÔÓ ÎfiÛÌÔ Ô ›‰ÈÔ˜ ¤¯ÂÈ
ÌÈÏ‹ÛÂÈ ÁÈ· ̤ӷ οÓÔÓÙ·˜ ÙÔ˘˜ ‰›ÛÎÔ˘˜ ÌÔ˘
¯Ú˘ÛÔ‡˜ Î·È Ï·ÙÈÓ¤ÓÈÔ˘˜, ·Ó Î·È ‰ÂÓ Â›Ì·È
ÂÌÔÚÈÎfi˜ ÙÚ·ÁÔ˘‰ÈÛÙ‹˜.
∆Ô 1996 ‰ËÌÈÔ˘ÚÁ‹Û·Ù ÙÔ˘˜ §·ıÚÂÈ‚¿Ù˜
64 OnBlue
ˆ˜ ‹Ù·Ó ÙfiÙÂ Î·È Ò˜ Û‹ÌÂÚ· ÙÔ ÂÏÏËÓÈÎfi
ÙÚ·ÁÔ‡‰È;
∆ËÓ ÂÔ¯‹ Ô˘ ÍÂΛÓËÛ·Ó ÔÈ §·ıÚÂÈ‚¿Ù˜
‹Ù·Ó ÔÏÏ¿ Ú¿ÁÌ·Ù· Ì ÙÔ Ì¤ÚÔ˜ Ì·˜. ∏
ÂχıÂÚË Ú·‰ÈÔʈӛ·, Ë ÙËÏÂfiÚ·ÛË, οÔÈÔÈ
ηÏÏÈÙ¤¯Ó˜ ›¯·Ó ‚ÚÂÈ ÙÔ ‰ÚfiÌÔ ÚÈÓ ·fi
Ì·˜. √ µ·ÁÁ¤Ï˘ °ÂÚÌ·Ófi˜, Ô °ÈÔηڛÓ˘, ÔÈ
∫·ÙÛÈÌ›¯·, ÔÈ ÂÙ·ÈÚ›˜ ¤„·¯Ó·Ó ÁÈ· ηÈÓÔ‡ÚÁÈ· ÚfiÛˆ·, ›‰·Ó Û ̷˜ ÙÔ˘˜ Û˘Ó¯ÈÛÙ¤˜.
™‹ÌÂÚ· ÙÔ ÂÌÔÚÈÎfi ÙÚ·ÁÔ‡‰È Êı›ÓÂÈ Î·È ÔÈ
ÂÙ·ÈÚ›˜ ‰ÂÓ „¿¯ÓÔ˘Ó ÁÈ· ηÈÓÔ‡ÚÁÈ· ÚfiÛˆ·.
∆È Û·˜ οÓÂÈ ÂÚ‹Ê·ÓÔ ÛÙËÓ ÔÚ›· Ô˘
¤¯ÂÙ ¯·Ú¿ÍÂÈ ÛÙ· ÌÔ˘ÛÈο ‰ÚÒÌÂÓ·;
¢¤¯ÔÌ·È Û˘¯Ó¿ ÚÔÎÏ‹ÛÂȘ Î·È ‰ÂÓ ˘Ô·Ùˆ
Û ·˘Ù¤˜, ÁÂÁÔÓfi˜ Ô˘ ı· ÌÔÚÔ‡Û ӷ ‚Ï¿„ÂÈ ÙÔ ‹ıÔ˜ Î·È ÙËÓ ÂÈÎfiÓ· ÌÔ˘. ∂ÁÒ ·Û¯ÔÏÔ‡Ì·È Ì ÙË ÌÔ˘ÛÈ΋ ÌÔ˘.
∏ ÂÔ¯‹ Ì·˜ ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·fi Ù·¯‡ÙËÙ· ηÈ
ÚÔ¯ÂÈÚfiÙËÙ·, ˆ˜ ·ÓÙÈÛÙ¤ÎÂÛÙÂ;
∏ ‚ÈÔÌ˯·ÓÔÔ›ËÛË ¤¯ÂÈ ÂÈÛ‚¿ÏÂÈ ·ÓÙÔ‡ ÛÙË
˙ˆ‹ Ì·˜. ¶ÚÔÛˆÈο, ÚÔÙ›ӈ ÙÔ ·˘ıÂÓÙÈÎfi
Î·È ¯ÂÈÚÔÔ›ËÙÔ Û fiϘ ÙȘ ÂÎÊ¿ÓÛÂȘ Ù˘
˙ˆ‹˜ Ì·˜.
Ÿˆ˜ ÛÙ· ÂÚÈÛÛfiÙÂÚ· ÙÚ·ÁÔ‡‰È· ¤ÙÛÈ Î·È
ÛÙ· ‰Èο Û·˜ ı· ¤ÏÂÁ· fiÙÈ Ô fiÓÔ˜ ‰ÂÛfi˙ÂÈ,
ÁÈ· ÌÈ· ÁÏ˘Î›· ÌÂÏ·Á¯ÔÏ›· ÌÈÏÒ. √Ê›ÏÂÙ·È
ÛÙËÓ ÚÔÛˆÈ΋ Û·˜ „˘¯ÔÏÔÁ›· ‹ Û·Ó Ï·fi˜
Ù·˘ÙÈ˙fiÌ·ÛÙ ÂÚÈÛÛfiÙÂÚÔ Ì ÙÔÓ fiÓÔ ·Ú¿
ÌÂ ÙË ¯·Ú¿;
∆ÔÓ fiÓÔ ¤¯ÂÈ ·Ó¿ÁÎË Î¿ÔÈÔ˜ Ó· ÙÔÓ ÌÔÈÚ¿˙ÂÙ·È, ÁÈ’ ·˘Ùfi ÙÔÓ Î¿ÓÂÈ ÙÚ·ÁÔ‡‰È. ∆Ë ¯·Ú¿ ÙË
‚ÈÒÓÂȘ ¯ÔÚ‡ÔÓÙ·˜ Î·È ‰È·ÛΉ¿˙ÔÓÙ·˜.
∆· ÙÚ·ÁÔ‡‰È· ÛËÌ·‰Â‡Ô˘Ó ÙÔ˘˜ ·ÓıÚÒÔ˘˜ ‹
ÔÈ ¿ÓıÚˆÔÈ Ù· ÙÚ·ÁÔ‡‰È·;
∫·È Ù· ‰‡Ô.
∏ Û‡Á¯ÚÔÓË ∂ÏÏ¿‰· Ê·ÓÙ¿˙ÂÈ Ï›ÁÔ Û·Ó §·˜
µ¤Áη˜. ¡˘¯ÙÂÚÈÓ¿ Ì·Á·˙È¿ ·ÓÙÔ‡, ÛÙÔ ÙÚ·ÁÔ‡‰È, ÛÙËÓ ÔÏÈÙÈ΋, ÂÓÒ Ô ÎfiÛÌÔ˜ ·ÛÊ˘ÎÙÈ¿
Û ÊÙÒ¯ÂÈ· Î·È ·ÓÂÏ¢ıÂÚ›·.
¶ÈÛÙ‡ˆ fiÙÈ ˙ԇ̠ÛÙÔ ¯ÂÈÚfiÙÂÚÔ ÛÙ¿‰ÈÔ Ù˘
ηÈÙ·ÏÈÛÙÈ΋˜ ˙ˆ‹˜ Î·È ÙÔ‡ÙÔ Â›Ó·È ÎÚ·˘Á·Ï¤Ô. ∏ ÊÈÏ·ÓıÚˆ›· ¤¯ÂÈ ·fiÎÙËÛË ÚÒÙÈÛÙÔ
ÎÔÈÓˆÓÈÎfi ÚfiÏÔ. ŸÏÔÈ ÌÔÚÔ‡Ó Ó· ˙‹ÛÔ˘Ó ÌÂ
·ÍÈÔÚ¤ÂÈ· Ù·˘Ùfi¯ÚÔÓ· Ù· ÚfiÙ˘· Ô˘
‰›ÓÔÓÙ·È Â›Ó·È Ô Ù˙fiÁÔ˜ Û fiÏ· Ù· Â›‰·.
∞fi ÔÈÔ˘˜ ÌÔÚ›˜ Ó· Ì¿ıÂȘ;
∞fi fiÏÔ˘˜ ÌÔÚ›˜ Ó· ¿ÚÂȘ, ·ÚΛ Ó·
¿ÚÂȘ ·˘Ù¿ Ô˘ ‰ÂÓ ¤¯ÂȘ, ÙÂÏÈο Â›Ó·È Ù·Ï¤ÓÙÔ Ó· Â›Û·È ·ÎÚÔ·Ù‹˜.
∞ÓÔ›ÁÔÓÙ·˜ ÙÔ Ú·‰ÈfiʈÓÔ fiÏ· Â›Ó·È ›‰È·, Ù·
ÙÚ·ÁÔ‡‰È· ÌÔÈ¿˙Ô˘Ó ·‚¿ÛÙ·¯Ù· ÌÂٷ͇ ÙÔ˘˜,
οÔÈÔÈ ÂÓÈÛ¯‡Ô˘Ó ·˘Ùfi ÙÔ ÙÔ›Ô… ÔÈÔÈ ÔÈ
‰ÈÛÎÔÁÚ·ÊÈΤ˜; ª‹ˆ˜ ÙÔ ÙÚ·ÁÔ‡‰È Â›Ó·È ¤Ó·
ÚÔ˚fiÓ;
∆Ô ÙÚ·ÁÔ‡‰È Â›Ó·È ÚÔ˚fiÓ .ÿÛˆ˜ ÊÙ·›ÂÈ Ë Ù·¯‡ÙËÙ· Ô˘ ‚Á·›ÓÔ˘Ó Ù· ÙÚ·ÁÔ‡‰È· Î·È ¤ÙÛÈ ÙÔ
ÙÔ›Ô ÌÔÈ¿˙ÂÈ ›‰ÈÔ.
™Â ÂÓԯϛ Ë ÎÚÈÙÈ΋;
songwriting can you tell if a song will appeal
to a wide audience?
As you play a song, you know that if it feels
familiar to you, it will feel as familiar to your
listeners.
Are your friends critics of your work? What do
you think the world thinks about you?
I believe in firm friends with strict criticism.
For me, music is communication, not a
commercial need. It is a tree bearing fruit all
the time. As far as people are concerned,
they have ‘talked’ about me by making my
albums gold and platinum, even though I am
not a ‘commercial’ singer.
In 1996, you created ‘Lathrepivates’. How
was the Greek music scene then and how is
it today?
At the time that we formed Lathrepivates, we
had many things on our side. Privatized radio
and television – some artists had found the
way before us: Vangelis Germanos, Yiokarinis,
the Katsimicha brothers.
Companies were looking for new artists to fill
their shoes and found them in us. Today,
commercial music is hitting a low and
companies aren’t looking for new artists.
What makes you proud from your contribution
to Greek music so far?
I often receive invitations and I don’t give in to
them, something that could potentially damage
my ethos and my image. I am just involved
with my music.
Our time is marked by speed and roughness.
How do you resist that?
Industrialization has penetrated every aspect of
our life. I personally recommend the authentic
and handmade products in all areas.
As in most Greek songs, I would say that a
sense of pain, of sweet melancholy, permeates
your songs. Is that due to your personal
psychology or Greeks, as a people, identify
more with pain than joy?
One feels the need to share the pain and
turns it into a song. We can communicate joy
by dancing and partying.
Do songs leave their imprint on people or
vice-versa?
Both.
Modern Greece seems like a small scale Las
Vegas. Night clubs everywhere, for music,
politics… and the common folk is suffocating
in poverty and lack of freedom.
I believe that we live at the lowest level of a
capitalist society and this is more than
obvious. Charity has become of primary
social importance. Everyone can live with
dignity but, at the same time, gambling is
promoted at every level.
From whom can you learn?
I envy voices which
can cause someone
to cry
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You can gain things from everyone, as long
as what you lack is not the talent of being a
good listener.
Turning on the radio, one realizes that songs
sound too much alike and certain people
reinforce this-- perhaps the recording
companies. Do you thing music is just
another product?
Music is a product. Maybe the speed with
which new songs come up is to blame for the
lack of individuality.
Does criticism bother you?
Sometimes criticism is hasty and rough. I
haven’t read the critics about my last album
because I’m not interested. I poured my heart
in it together with four years worth of hard
work in order to be able to find the specific
style for the lyrics. Therefore, I think that
there is often no room for criticism when you
have gone through aches and pains to
achieve something.
Are there strengths you see in others that you
don’t possess?
I get envious when I hear voices that are so
beautiful they can make you cry.
Which voice can get you out of a bad
moment when you listen to it?
Kosta Pavlides’.
What is quality life for you? How can one
attain it and maintain it?
It is the pleasure one finds in the small things.
Does an artist’s personal life concern his or
her audience?
I don’t think so.
An artist should definitely rise high; the person,
however, should remain in his shadow. Do you
agree?
Not just his shadow but the shadow of his
work.
How did ‘Ena Diaforetiko Kalendari’ come up?
In 2002, Elias Katsoulis published verses
every month in Diphono magazine. I
gathered those poems and wrote music for
them and showed them to him. Elias liked
them and he officially gave them to me and
that’s how this CD came up.
Any future plans?
I will perform the "Kalendari" in cities across
Greece. We’ll see after that.
Thank you and I hope you always continue
to see things as you see them now.
I thank you too. I enjoyed our conversation. OnBlue 65